DOI chapter:
Chapter IX
DOI Page / Citation link:https://doi.org/10.11588/diglit.62095#0118
Eighteenth-Century Colour-Prints 89
publication line, and was probably brought out by Gaugain himself. He seems to have
sold the plates, and a certain number of the prints, to J. Bryden, Charing Cross, whose
name appears on the publication line of the second state. The reason that led me to the
conclusion that Gaugain had sold both prints and plates is that the same water-mark
appears on the paper of the first as on the second issue. The third state has the title
added, and is printed in colours, but this pair also was re-engraved more than once, and
enjoyed the same unfortunate popularity as the before-named.
ILLUSTRATION OF THE WORK OF JAMES HOGG
Hogg (James) worked between 1784. and 1800. Perhaps I owe the public an
apology as much for including James Hogg as for excluding Caroline Watson, but circum-
stances were responsible as much for the one as for the other. Hogg was never more
than a respectable stipple-engraver, although he had the advantage of designs from
Angelica Kauffmann, Peters, Kirk, and Wheatley. His “ Rinaldo and Armida,” after
Kauffmann, and “ Erminia,” published in 1784, are only interesting as showing how
infinitely superior an engraver Burke proved himself when he had the same subjects on
which to work. A portrait of Maria Cecilia Louisa Cosway as “ A Milk-maid,” after R.
Cosway, published by J. R. Smith; “ The Power of Music,” after Kauffmann; “ Adelaide,”
and “ Sylvia,” after Wheatley ; “ The Count de Belemire,” after Rigaud ; a portrait of
“John Henderson,” and an engraving of “Queen Margaret with her son the Prince,”
after Antoine Borel, are all, if not more than all, that are worthy of mention amongst
the works of Hogg. But the Rev. W. Peters was a painter so exceedingly popular, that
I could not persuade myself to bring out the book without a specimen or two of his work,
and “ Sophia ” by Hogg was one of the stipple-prints that came conveniently within my
limits of space. Hogg engraved a considerable number of plates for the small Shakespeare
series brought out by the Boydells, but these were in line.
Plate XXV. Sophia.—This “Sophia” is the younger sister of “Olivia.” I rather
fancy the transcript is supposed to be from the celebrated picture painted in rivalry to
the one of “ Farmer Flamborough’s Family.” The description of that picture aroused
the envy of the Vicar of Wakefield’s wife. The Vicar tells us : “ As for our neighbour’s
family, there were seven of them, drawn with seven oranges—a thing quite out of taste,
no variety in life, in composition, in the world. We desired to have something in a
brighter style.” The limner charged 15s. a head, and the “brighter style” included
“ the Vicar’s wife as Venus, the two little ones as Cupids, Olivia as an Amazon sitting
upon a bank of flowers dressed in a green joseph, largely laced with gold, and a club in her
hand. Sophia was to be a Shepherdess P This character of the “ Shepherdess ” seemed
to be one appropriately chosen for Sophia, for, earlier in the same immortal classic, when
the Vicar was called out with his family to help at saving an aftergrowth of hay, the
assiduity of Mr. Burchell in assisting Sophia, was noted with mingled uneasiness and
satisfaction by her proud and admiring father.
Hogg was the publisher, and the first issue was in colours.
N
publication line, and was probably brought out by Gaugain himself. He seems to have
sold the plates, and a certain number of the prints, to J. Bryden, Charing Cross, whose
name appears on the publication line of the second state. The reason that led me to the
conclusion that Gaugain had sold both prints and plates is that the same water-mark
appears on the paper of the first as on the second issue. The third state has the title
added, and is printed in colours, but this pair also was re-engraved more than once, and
enjoyed the same unfortunate popularity as the before-named.
ILLUSTRATION OF THE WORK OF JAMES HOGG
Hogg (James) worked between 1784. and 1800. Perhaps I owe the public an
apology as much for including James Hogg as for excluding Caroline Watson, but circum-
stances were responsible as much for the one as for the other. Hogg was never more
than a respectable stipple-engraver, although he had the advantage of designs from
Angelica Kauffmann, Peters, Kirk, and Wheatley. His “ Rinaldo and Armida,” after
Kauffmann, and “ Erminia,” published in 1784, are only interesting as showing how
infinitely superior an engraver Burke proved himself when he had the same subjects on
which to work. A portrait of Maria Cecilia Louisa Cosway as “ A Milk-maid,” after R.
Cosway, published by J. R. Smith; “ The Power of Music,” after Kauffmann; “ Adelaide,”
and “ Sylvia,” after Wheatley ; “ The Count de Belemire,” after Rigaud ; a portrait of
“John Henderson,” and an engraving of “Queen Margaret with her son the Prince,”
after Antoine Borel, are all, if not more than all, that are worthy of mention amongst
the works of Hogg. But the Rev. W. Peters was a painter so exceedingly popular, that
I could not persuade myself to bring out the book without a specimen or two of his work,
and “ Sophia ” by Hogg was one of the stipple-prints that came conveniently within my
limits of space. Hogg engraved a considerable number of plates for the small Shakespeare
series brought out by the Boydells, but these were in line.
Plate XXV. Sophia.—This “Sophia” is the younger sister of “Olivia.” I rather
fancy the transcript is supposed to be from the celebrated picture painted in rivalry to
the one of “ Farmer Flamborough’s Family.” The description of that picture aroused
the envy of the Vicar of Wakefield’s wife. The Vicar tells us : “ As for our neighbour’s
family, there were seven of them, drawn with seven oranges—a thing quite out of taste,
no variety in life, in composition, in the world. We desired to have something in a
brighter style.” The limner charged 15s. a head, and the “brighter style” included
“ the Vicar’s wife as Venus, the two little ones as Cupids, Olivia as an Amazon sitting
upon a bank of flowers dressed in a green joseph, largely laced with gold, and a club in her
hand. Sophia was to be a Shepherdess P This character of the “ Shepherdess ” seemed
to be one appropriately chosen for Sophia, for, earlier in the same immortal classic, when
the Vicar was called out with his family to help at saving an aftergrowth of hay, the
assiduity of Mr. Burchell in assisting Sophia, was noted with mingled uneasiness and
satisfaction by her proud and admiring father.
Hogg was the publisher, and the first issue was in colours.
N